A concert pianist, the romantic idol of many women, is seduced away from his wife. The seductress' husband takes in the pianist's wife, and all four pretend to be happy with the new arrangement.


The Concert does not begin with a overture; it detonates one. A proscenium arch glows like a cathedral of mercury, footlights ripple across lacquered Steinway teeth, and suddenly the camera itself seems to inhale—because the pianist’s hands are locomotives in white gloves, storming presto runs that scatter women’s hea...

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Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Victor Schertzinger

Victor Schertzinger
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" The Concert does not begin with a overture; it detonates one. A proscenium arch glows like a cathedral of mercury, footlights ripple across lacquered Steinway teeth, and suddenly the camera itself seems to inhale—because the pianist’s hands are locomotives in white gloves, storming presto runs that scatter women’s hearts like startled doves. Director Victor Schertzinger understands that in 1921 silence is currency: every close-up of those hands is accompanied by a visual tremolo—quick inserts o..."
Hermann Bahr, J.E. Nash
United States


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